Xavier Guerrero
Author: Xavier Guerrero
Name: Zodiac
Date: 1923
Location: Former Temple of Saint Peter and Saint Paul, Mexico City, Mexico
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Xavier Guerrero’s astrological motifs in the former Jesuit Temple of Saint Peter and Saint Paul represent one of the most elaborate celestial-themed mural cycles of early Mexican muralism. This temple played a foundational role in the development of post-revolutionary muralism, serving as an experimental space for the first state-sponsored commissions. Unlike the overtly nationalist and political themes that would later dominate Mexican muralism, early works in this space—such as those by Roberto Montenegro and Gerardo Murillo (Dr. Atl) included in this exhibit—incorporated more spiritual and esoteric themes, reflecting a broader search for Mexico’s identity.
Painted as part of the temple’s artistic renovations under the direction of José Vasconcelos, Guerrero’s frescoes integrated astrological and Indigenous motifs within the framework of the new national identity. At the center of the vault, Guerrero created an astrological dome featuring a radiant sun encircled by the twelve signs of the Zodiac, rendered in gold against a deep blue celestial background. The Zodiac is upheld by four human figures positioned at the cardinal points, their outstretched arms suggesting a connection between the heavens and the earthly realm. This cosmic arrangement alludes to classical and medieval representations of the celestial sphere, evoking ideas of fate, cyclical time, and cosmic harmony.
These astrological frescoes resonate with Guerrero’s other celestial-themed murals at the National School of Agriculture in Chapingo, demonstrating his persistent interest in modern esoteric traditions. Much like his fellow muralists, Guerrero saw in astrology not merely a decorative element but a symbolic framework for shaping Mexico’s destiny. His integration of astrological imagery aligned with Vasconcelos’s broader vision of cosmic race theory, which sought to fuse spiritual and intellectual traditions from across the world into a new, modern Mexican identity. Within this context, Guerrero’s paintings stand as a testament to the spiritual undercurrents that shaped early muralism, before nationalist themes fully took center stage in the movement.
Author: Xavier Guerrero
Name: The Signs of the Zodiac
Date: 1923
Location: National School of Agriculture, Chapingo, Mexico
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Xavier Guerrero's murals at the National School of Agriculture in Chapingo, particularly "The Signs of the Zodiac," exemplify his integration of astrological themes with indigenous identities. In "The Signs of the Zodiac", Guerrero presents the twelve astrological symbols encircling a radiant sun, emphasizing the cyclical nature of cosmic forces. These works reflect Guerrero's interest in esoteric traditions and his ability to blend diverse cultural elements, creating a visual language that bridges indigenous and Western perspectives.
Author: Xavier Guerrero
Name: Women with Clouds
Date: 1923
Location: National School of Agriculture, Chapingo, Mexico
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Xavier Guerrero's murals at the National School of Agriculture in Chapingo, particularly "Women with Clouds", exemplify his integration of astrological themes with indigenousIndigenous identities. In "Women with Clouds," Guerrero depicts four indigenousIndigenous women arranged symmetrically around a central stone carving, their hands joined in unity. The surrounding crescent moons and clouds establish a connection between femininity, nature, and the cosmos. These works reflect Guerrero's interest in esoteric traditions and his ability to blend diverse cultural elements, creating a visual language that bridges indigenousIndigenous and Western perspectives.
Author: Xavier Guerrero
Name: Zodiac
Date: 1923
Location: Ex Temple of Saint Peter and Saint Paul, Mexico City, Mexico
-
Xavier Guerrero’s astrological motifs in the former Jesuit Temple of Saint Peter and Saint Paul represent one of the most elaborate celestial-themed mural cycles of early Mexican muralism. This temple played a foundational role in the development of post-revolutionary muralism, serving as an experimental space for the first state-sponsored commissions. Unlike the overtly nationalist and political themes that would later dominate Mexican muralism, early works in this space—such as those by Roberto Montenegro and Gerardo Murillo (Dr. Atl) included in this exhibit—incorporated more spiritual and esoteric themes, reflecting a broader search for Mexico’s identity.
Painted as part of the temple’s artistic renovations under the direction of José Vasconcelos, Guerrero’s frescoes integrated astrological and Indigenous motifs within the framework of the new national identity. At the center of the vault, Guerrero created an astrological dome featuring a radiant sun encircled by the twelve signs of the Zodiac, rendered in gold against a deep blue celestial background. The Zodiac is upheld by four human figures positioned at the cardinal points, their outstretched arms suggesting a connection between the heavens and the earthly realm. This cosmic arrangement alludes to classical and medieval representations of the celestial sphere, evoking ideas of fate, cyclical time, and cosmic harmony.
These astrological frescoes resonate with Guerrero’s other celestial-themed murals at the National School of Agriculture in Chapingo, demonstrating his persistent interest in modern esoteric traditions. Much like his fellow muralists, Guerrero saw in astrology not merely a decorative element but a symbolic framework for shaping Mexico’s destiny. His integration of astrological imagery aligned with Vasconcelos’s broader vision of cosmic race theory, which sought to fuse spiritual and intellectual traditions from across the world into a new, modern Mexican identity. Within this context, Guerrero’s paintings stand as a testament to the spiritual undercurrents that shaped early muralism, before nationalist themes fully took center stage in the movement.